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ON FREE VIEW 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


BEGINNING FRIDAY, JANUARY 151TH, 1915 
AND CONTINUING UNTIL THE DATE OF SALE 


EARLY ENGLISH PORTRAITS 


AND OTHER PAINTINGS _ 


COLLECTED BY THE LATE 


F. A. G. HOOD, ESQ. 


LONDON, ENGLAND 


TO BE SOLD 
AT UNRESTRICTED PUBLIC SALE 


ON THURSDAY EVENING, JANUARY iste tol 


IN THE GRAND BALLROOM 
OF THE PLAZA 


FIFTH AVENUE, 58TH TO 59TH STREET 


BEGINNING AT 8.30 O’ CLOCK 


ILLUSTRATED CATALOGUE 


OF THE 


EARLY ENGLISH PORTRAITS 
: AND OTHER PAINTINGS 


COLLECTED BY THE LATE 


F. A. G. HOOD, ESQ. 


DORSET STREET, LONDON 


AND TO BE SOLD BY DIRECTION OF HIS SON 


G. F. W. HOOD, ESQ. 


OF FERN BANK, ETTERBY, CARLISLE, ENGLAND 


whew NRESTRICTED:=PUBLIC SALE 


ON THE DATE HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
OF THE AMERICAN ART ASSOCIATION, MANAGERS 


MADISON SQUARE SOUTH, NEW YORK 
1935 


“ALL DETAILS OF ILLUSTRATION. 4 a 
TEXT AND TYPOGRAPHY — ae a 


PREFATORY NOTE 


TueEse three score pictures collected by an English gentleman of 
taste and studious interest, and by his son who exercised the same in- 
telligent appreciation, come into the market for open competition 
among the American art-loving public as a result of the great war. 
The elder Mr. Hood, now deceased, who took great care in establish- 
_ ing his modest but worthy collection, “was always disposed to submit 
his pictures to the test of informed criticism and to weed out ruth- 
lessly any but worthy and authentic examples.” 

His son, Mr. G. F. W. Hood, has consistently sought also to 
take advantage of the progress of expert knowledge. He is therefore 
doubly fortified in his confidence “that each picture is a fine example 
of the artist who painted it,” a fact of general remark among those 
who from time to time viewed the collection in its English home, and 
that the canvases were chosen with discrimination and judgment. 
They are also in excellent condition, having been preserved with intel- 
ligent care. 

“I hope you will hold the sale in January,” Mr. Hood wrote on 
December 12, ‘tas I expect from day to day to be ordered on active 
service.” 

On December 14 he wrote: “In a letter which you will probably 
receive by this same mail I spoke of the probability of our being sent 
to the front, and, strange to say, within half an hour of posting the 
letter orders arrived for our immediate transfer to Aldershot Camp. 
From there we will undoubtedly proceed to France quite shortly.” 

The titles of the pictures, with few exceptions, are those in the 
catalogue prepared many years ago by the elder Mr. Hood, the 
founder of the collection: “Pictures in the Collection of F. A. G. Hood, 
Esq., 9 Dorset Square; privately printed.” The character of the pic- 
tures speaks for itself, and the care taken by the founder in preserv- 
ing the records of identity of the sitters makes the portraits in the 


collection exceptionally interesting. 


Tue AmeErRIcAN ArT ASSOCIATION. 
January 6, 1915. 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale injuriously. 

2, The highest bidder shall be the buyer, and if any dispute 
arise between two or more bidders, the auctioneer shall either decide 
the same or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
-of which the lot so purchased shall be immediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for 
the enforcement of the sale, or may at public or private sale, and 
without other than this notice, re-sell the lots for the benefit of such 
_ purchaser, and the deficiency (if any) arising from such re-sale shall 
be a charge against such purchaser. 

4, Delivery of any purchase will be made only upon payment 
of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—between the 
hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in 
which the Association is in no wise engaged, and will not be performed 
by the Association for purchasers. The Association will, however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the pur- 
chaser. Title passes upon the fall of the auctioneer’s hammer, and 
thereafter, while the Association will exercise due caution in caring 


for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 

{. Guarantee is not made either by the owner or the Association 
of the correctness of the description, genuineness or authenticity of 
any lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale, after which 
it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot cor- 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby would become responsible 
for such damage as might result were his opinion without proper 
foundation. 

SPECIAL NOTICE. 

Buying or bidding by the Association for responsible parties on 
orders transmitted to it by mail, telegraph or telephone, will be faith- 
fully attended to without charge or commission. Any purchase so 
made will be subject to the above Conditions of Sale, which cannot 
in any manner be modified. The Association, however, in the event of 
making a purchase of a lot consisting of one or more books for a pur- 
chaser who has not, through himself or his agent, been present at 
the exhibition or sale, will permit such lot to be returned within ten 
days from the date of sale, and the purchase money will be returned, if 
the lot in any material manner differs from its catalogue description. 

Orders for execution by the Association should be written and 
given with such plainness as to leave no room for misunderstanding. 
Not only should the lot number be given, but also the title, and bids 
should be stated to be so much for the lot, and when the lot consists 
of one or more volumes of books or objects of art, the bid per volume 
or piece should also be stated. If the one transmitting the order is 
unknown to the Association, a deposit should be sent or reference sub- 
mitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, 
will be furnished by the Association at a reasonable charge. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


SALE THURSDAY EVENING 
JANUARY 2st, 1915 


IN THE GRAND BALLROOM OF 
THE PLAZA 


Firtu Avenue, 581TH To 59TH STREET 


BEGINNING PROMPTLY AT 8.30 O’CLOCK 


No. 1 


SIR EDWIN HENRY LANDSEER 
Eneuisy: 1802—1873 


STUDY FOR PAINTING “A HIGHLAND FERRY” 
9 (Pen Drawing) _. oa 
Go WEG ey LUger— 
Height, 8 inches; width, 7 inches ae 


| 


A. YOUNG woman of delicate and handsome features is seated 
facing the observer, her figure turned slightly toward the right 
and her face toward the left and downward as she regards affec- 
tionately an infant held in her arms. The child’s head lies 
within her right arm, its hand is raised to her breast, and her 
left hand drops over the small body as it rests in her lap. She 
is in loose clothing and wears a high cap. Above the group 
is a preliminary detached drawing of the same head, the ex- 
pression varying very slightly. 


Signed at the lower right, EL im monogram. 


No. 2 


EUGENE DELACROIX 
ay SB Frencu: 1798—1863 


STUDY OF A HORSE Ott bo. 
(Pen and Wash Drawing) 


Height, 824 inches; length, 18 inches 


In the midst of a battle a riderless stallion full of fire and 
virility of expression is pictured moving away to the left at a 
trot, his head turned to his right to look back at the martial 
tumult that has deprived him of master and guide and left him 
puzzled. His mane and tail are blowing in the wind and a 
strong light strikes his back and head, throwing his nearer 
side partly into shadow. His spirited action is closely studied. 


To left troopers are moving away at a charge, and on the right 


combat is engaged, with the smoke of battle rolling over the 
entire background. 


No. 3 


GIOVANNI BATTISTA CIPRIANI 
Traian: 1732 ?—1785 


CLEOPATRA een 
ees (Drawing in Red ed ee ee (Se ae 


Oval: Upright diameter, 11 inches; horizontal, 814 inches 


Tue troublous Egyptian is here figured not lithe and ser- 
pentine but ample and reposeful, albeit fair and of voluptuous 
charm. She sits reclining among cushions and draperies, her 
head, encircled in ringlets, thrown back toward the left and 
eyes directed upward in pathetic yearning and resignation. 
One hand is raised, the other clasps the asp. Her loose, volu- 
minous gown has short sleeves, and from one shoulder has 
fallen to her belt, revealing a full breast. She is seen at three- 
quarter length. 


No. 4 


GEORGE CATTERMOLE 
EncusH: 1800—1868 


THE GRAVE OF “LITTLE NELL | 
(Water Color) 


ae Height, 12 inches; length, 17 inchés J 


Vare rho rte 

THE interior of “the old church” (familiar in Dickens illustra- 
tions) is cold and gray, though the light of day is bright there. 
On either hand, beside an archway, are elaborately sculptured 
tombs, surmounted by recumbent effigies of their occupants 
with piously clasped hands. Near the center of the aisle “the 
old man” sits, disconsolate, in gray coat and faded red breeks, 
hands crossed over his stick and his shadow cast on the flooring 
of gray flag and red brick, regarding in tense meditation the 
slab in the floor, marked: “‘Here.” 


“They carried her to an old nook, where she had many and many 


a time sat musing. . . . With every breath of air that stirred among 
those branches in the sunshine, some trembling, changing light, would 
fall upon her grave. . . . As they were making ready to pursue him~ 


far and wide, a frightened schoolboy came who had seen him, but a 
moment before, sitting in the church—upon her grave, he said. They 
hastened there, and going softly to the door, espied him in the attitude 
of one who waited patiently. . . . And thenceforth, every day, and 
all day long, he waited at her grave, for her.” 


No. 5 


| IL PARMIGIANINO 
Irauian: 1504—1540 


THEH INFANT SAVIOUR WITH ST. JOHN 
(Drawing in Red Chalk)  // / a6 © 
2 a ee ro LrAt pee ge p> 


Height, 15% inches; length, 19 inches ( 


Tur Christ-child is lying among pillows and soft folds before 

a background of drapery and tinted wall, His knees drawn up 
and left hand resting upon His breast. His face is turned 
toward His right, lying against the pillow, and He gazes 
steadfastly at the infant St. John, who approaches from the 
left, bearing forward the Cross, which the Christ receives in 
His right hand. The saint is seen head and shoulders, his 
face in profile, his hair curly. 


No. 6 
A. D. McCORMICK . 


Encuiso: ConTEMPORARY 


LANDSCAPE 
(Water Color) 


Pe oe Height, 15 inches; length, 191% inches _ 


A COTTacE stands at the edge of ‘ Cn by a 
thick garden of tall flowers and enclosed by a low wooden rail 
fence. Beyond it the sky is a light gray, the cottage looming in 
dark blue, tile-red, brown and a blaze of yellow. To left the 
trees are thick, but in front the wood is open, tree-trunks and 
bared lower limbs coming into the picture and the grass- 
patched ground appearing strewn with autumn colors. In the 
middle distance an old woman in black, carrying a closed um- 
brella, accompanied by a golden-haired child in white and blue, 
is moving slowly away from the spectator in the direction of 
the cottage gate. | 
Signed at the lower right, A. D. McC. 


No. 7 


A. D. McCORMICK 
ENGLISH: CONTEMPORARY 


LANDSCAPE 
| (Water Color) 


a Height, 14% inches; length, (i? gs wh yf ae 
A RoaD from the foreground, trending to the right bends left- 

ward in the distance around a group of village or farm build- 

| ings with red-brown roofs and English chimney-pots which 

| rise against a gray sky. In front of them, in the middle distance 

i and on the left of the road, two oak trees stand near together, 

straggling branches extending over yellow fields to the left, 

and foliage spotting the bright sandy road with brownish 

shadows. Under the shelter of the trees the roadside bank of 

the yellowish fields is restored to its green hue. 


No. 8 


SIR THOMAS LAWRENCH, P.R.A. 
Eneuisyu: 1769—1830 


A SKETCH, JOHN KEMBLE AS “HAMLET” 
ies Height, 1414 inches; width, 11 inches 7 
Bp) g 2 j 


THE eminent actor is portrayed at half-length, head turned 
toward the right, three-quarters front. His face is pale, his 
head slightly inclined, and his eyes are cast down in thought. 
Long yellow hair, tossed carelessly aside from. his forehead, 
hangs to his shoulders. He is in dark robes, with touches of 
white, red and gold, and olive-brown in the fur of his mantle, 
and the hilt of his sword gleams at his belt. Neutral back- 
ground of dark olive tints. 


No. 9 


JAN STEEN 
Durcu: 1626—1679 


THE NATIVITY 
(Panel) 


Height, 91, inches; Peart 12 ea y 
ee AY. 6), 4: B 


In an humble interior of mellow mahogany-brown fons 
touched with olive, the group of sacred story appear in a strong 
hight concentrated on the Christ-child lying in a draped cradle, 
and from Him radiating to the faces of His adorers. The 
Child occupies the center of the composition, nestled beneath 
white coverlets and gazing up at the kneeling Mother, who, 
clad in robes of rich color, regards Him tenderly, from the 
right. Back of her Joseph or a bearded wise man cloaked in 
red with a yellow coif, standing, looks down upon the infant, 
at whose head a shepherd kneels with clasped hands, while in 
front of the cradle and to the left.a bare-footed shepherd in 
red and yellowish-white, with a skin-coat over his shoulders, 
kneels supported on his staff in stupefied amaze. Behind him 
and sharing in the light is seen a setting hen in a basket, with 
a smaller basket of eggs in front of her, and above her two 
figures in vignette appear on the wall. , 


From the Jonas Witsen Collection, London. 


No. 10 


AELBERT CUYP 
DutcHu: 1620—1691 


THREE BOORS DRINKING 
(Panel) 


oe ay QO Height, 18 inches; width, 1244 wmches a : 


A HOMELY and expressive scene, charmingly executéd, as 
modern in manner as though the centuries had not elapsed since 
its felicitous production. In a softened but brilliant interior 
light, against a neutral wall background of pale olive and yel- 
lowish notes, three Dutch farmers have assembled to drink as 
long as it pleases them. They have lost interest in eating, and 
a knife is flung carelessly to the floor. One man, seated on a 
low wooden stool, is seen in profile to the left, hunched over 
and resting left elbow on knee, cup in hand, loose jaw sagging, 
quite content. Another beyond him seated on a similar stool, 
and seen in profile to the right, appears a little anxious and 
unsteady, and the third man, standing, with serious dignity 
puts an arm to his shoulder. 


Signed on the nearer bench, Curr. 


From the Hogenbergh Collection, London. 


No. 11 


JAN VAN GOYEN 
Dutcu: 1596—1656 


MOUTH OF THE MEUSE 
(Panel) 


t Height, 18 inches; length, 221% inc q 
2-9 — Gree S epnnntwr AGerrt © 


A PICTURE almost in monotone, engaging in composition, and 
of remarkable quality within its monochromatic range. The 
broad river occupies the full span of the picture in the fore- 
ground, sweeping out to sea toward the right in the distance, 
about a long middleground shore consisting of a low point pro- 
jecting from the left, where a windmill, a church and other 
buildings of the community rise above a mass of flourishing 
trees. Relieved against the umbrageous shoreline and _ its 
architectural accents are Dutch fishing vessels, with sails up, 
and in the immediate foreground a transverse under-surface 
reef with scant vegetation springing above the water-level ex- - 
tends out from the shore, and here fishermen in small-boats are 
raising their traps and nets. 


Signed on lobster-pot to right of center, J V G (1658?). 


From the collection of Miss Rogers, sister of the poet Samuel Rogers. 


Commended by the German critic Herr Waagen in his Conse of 
England’s national treasures of art. 


No. 12 


JAN VAN GOYEN 
Dutcu: 1596—1656 


HARBOR SCENE 


(Panel) 
NL ee, 
Vo OC. O tyr HaK__ 


SHALLOW harbor waters are made turbulent by a stiffening 
breeze, their dark waves white-crested and spindrift scudding 
over them. ‘These fill the picture from a low point of land in 
the left middle distance to a jetty built out from the right near 
the foreground, the open sea filling the distance. Near at hand, 
heading out beyond the jetty on whose point stand old salts 
looking seaward, is a heavy sailing boat with numerous people 
aboard, and other craft are seen in the offing, one a tall-masted 
ship. The windy greenish-blue sky is filled with fleeting gray 
and yellowish clouds. 


Signed on the jetty, V. G. 


No. 18 


FEDERIGO ZUCCHERO 
Travian: 1543—1609 


PORTRAIT OF THE LADY ELIZABETH DACRE 
(Panel) 


T 4 ee Height, 171% inches; width, 138% inches / y) | 
Elizabeth, daughter of Thomas Lord Dacre of Gillesland, mar- 
ried in 1577 Lord William Howard (“Belted Will’), third son 
of Thomas, fourth Duke of Norfolk. Lord William was Com- 


missioner for the Borders. 


Heap and bust portrait of a dignified young lady of regular 
features, her face of oval contour, hazel eyes and hair of a 
rich red, the eyebrows partaking of its hue. Her complexion 
is of the sort called transparent, the faintest pink showing in 
her cheeks and being diffused more or less throughout the 
face. She wears a most elaborate gown of black velvet and 
luxurious gold embroidery, with a lace yoke, a collar of jewels, 
and her chin is partly screened, buried as it is in the high six- 
teenth century lace ruff, shaped in scrolling folds, a correspond- 
ingly elaborate lace headdress mounting over the loosely puffed 
red hair. Background of warm reddish brown. Inscribed at 
the upper left: “Autatis suze 20; 26 Augusti, Ao. 1575.” 


No. 14 


JAN DE BEILJER 
Swiss: 1705—1768? 


A RIVER SCENE 
(Panel) 


e 0) sit _ Height, 16 inches; length, 1934 inches iy, f 
| Y\rA-K\o ARACA- 

Unper a bright sky of intense blue in which vaporous gray 
clouds are drifting, a river valley in a well-wooded country is 
displayed, with an animated scene in the foreground. ‘The 
river comes into view among distant trees that extend to a low 
horizon, two boats with brown sails proceeding away in the 
middle distance, and in the foreground sweeps past a bluff shore 
on the right which is surmounted by a castle. Here a horse and 
some people are being ferried over in a punt, and a company 
of travelers have just landed from another small boat. In a 
road cut into the tree-crowned bluff, men are seen driving 
animals of the farmyard up the hill. 


Signed at the lower right, Jan DE BeisER, 1729. 


No. 15 


P. DE KOENINCK 


Dutcu: 1619—1688 - 


THE FERRY 
(Panel) 


Sse Height, 16 inches; length, 1914 WEN, 
( ie ain ne Caaa 


A. River of Holland is blue and green with reflections of a fair 
sky and the trees and grasses that line its banks. It swings 
into the picture around a low grassy point on the left, in the 
middle distance, across which is seen a conical windmill, its 
arms motionless. The farther bank is a mass of trees, while 
along the point flags rise out of the shallows and some cattle 
have waded into the water to drink. Approaching in the fore- 
ground is a heavy rowboat, filled with peasants and milk cans, 
a dog seated on its bow, and one of the passengers pointing out 
something ashore to a maid buxom and a little sceptical. 
Beyond the ferry are several sailboats with canvas of soft 
grays and yellows. | 

Signed at the lower right. 


No. 16 


ee Se ROBERT LADBROOKE 


Encuisu: Norwich ScHoo.; piep 1842 


VIEW NEAR SWAINSTHORPE ON THE 
A RIVER YARE 


“ nies Height, 16%4 inches; length, 21 /inches 


THE gray roof of a thatched cottage, with ‘dormer Avindow of , 
diamond panes and a red chimney from which a wisp of smoke : 
curls in the gently-moving air, rises from a thick enclosure of 
trees in the midle distance on the left, on the farther side of 
the narrow, limpid stream, which crosses the picture. Beyond 
are far blue hills. On a low bridge, in a road winding about 
the cottage enclosure, a buxom, bonneted woman in red holds a 
child seated on the bridge rail, that he may watch the voyage 
of a toy boat set afloat by another boy sitting on the green 
hither bank of the stream, in the central foreground. Here on 
watch also, resting on a style, is a man smoking a pipe, accom- 
panied by a woman stolid as he and holding a cup of cheer. 
Across the stream on the right beyond them, the opposite steep 
bank is green with short, chunky trees, one of them pollarded. 


/ } ff 7 
NAN ge VlarRPKLL 


No. 17 
FLEMISH SCHOOL 


PORTRAIT OF A LADY 


ae ae Height, 2134 inches; ee 1734 inch 

. Fife NAS 
HALF-LENGTH portrait of a lady in middle life, represented in 
full-face, turned very slightly to the left. She is in a Dutch cap 
or headdress of brown, with dark stripes, and wears a dark 
greenish-black dress with tight, tapering bodice, full, plaited 
sleeves and wide-spreading skirt. A deep collar of silvery 
white edged with lace encircles her neck, depending to a split 
point before her breast, and a high upstanding white gauze ruff 
spans her shoulders, rising high behind her head. She is in full 
light against a dark neutral ground, and her expression is one 
of conscious dignity. 


No. 18 


PHILIPS WOUWERMAN 
Dutrcu: 1619—1668 


A COMBAT BETWEEN HORSE AND FOOT 


Oe Height, 17 inches; length, 21Y¥y inches g 


A BATTLE is taking place on the broad flank of a hill which 
slopes from the left. On top of the mound are mounted officers 
giving directions, and marksmen crouching below them, sil- 
houetted against a white sky which turns to blue overhead. 
Emerging from the left in the foreground, in the shelter of 
the hill, are musketeers afoot, firing, under a red battle-flag 
waved aloft, upon warriors on horseback coming around the 
hill from the right. Midway, the struggle exhibits hand-to- 
hand combats with clubbed muskets, a drummer kneeling beats 
his drum, and beyond in the middle distance dense smoke rises 
in a cloud from the hillside. 


Signed at the lower right, P. W. 


No. 19 


EUGENE ISABEY 
Frencu: 1804—1886 
A SHIPWRECK 


fete Ae Height, 1734 inches; length, 2334 inches // ae 6: 
ge si 
50 Vine to 


A TERRIFIC sea is on and mountainous waves are having their 
will of defiant man. The sky is black, its hue only made the 
more ominous by flashes of yellow and a light streak on the 
water in the distance. Close at hand the water is a cold, 
gloomy and forbidding green, tossing to gray-white crests. 
Here small-boats are struggling with sail and oar in the tur- 
moil, rescuers and rescued from a great ship going to her 
doom in the tumult just beyond them crowding their capacity 
and the best efforts of willing aid in the last emergency. The 
costumes of the people are of many colors. Women are in the 
throes of suffering. The great ship just ahead, abandoned, 
has turned on her side and is rolling under. 


No. 20 


GEORGE VINCENT 
Enecuisy: 1796—18382 


LANDSCAPE—A COPY OF HOBBEMA 
(Panel) 


—) 4 | ) K anny 1 ° / 
ae 4 Be Height, 19 inches; length, 28 vA, inches HW) 


Yr. J 

THE original by Hobbema is in Lord Trevor’s collection and 
is well known. The scene is a broad Dutch landscape of woods 
and open fields, on a summer day with a fair blue sky in which 
gray and white clouds hang low. In the middle distance, near 
the center of the composition, a group of gray mill buildings 
with steep roofs and tall water wheels spans a stream which 
comes winding to the foreground, where a peasant woman has 
led one of her cattle into it to drink. The mills and whole 
middle distance and the far distance are in bright sunlight, 
while the foreground is shadowed. ‘The banks of the stream 
are rough land, and on the left two boys are walking. 


From the Collection of C. W. Curtis, Esq., Kearsney Abbey, Dover. 


ie No. 21 


THOMAS DE KEYSER 
DutcH: 1596(97)—1667 


EDWARD MONTAGU, 
FIRST EARL OF SANDWICH 


0° ; 
ie bee Height, 24 inches; width, Ge CK Le 


Sir Edward Montagu, Knight, K.G., P.C.; M.P. for Hunting- 
donshire, 1644-1647; a distinguished parliamentary general 
and later Lord High Admiral of England. Created Earl of. 
Sandwich, 1660; fell in the great sea battle with the Dutch, 
off Southwold Bay, 1672. 


Heap and shoulders portrait of a young man with long head, 
well chiseled features, pale complexion with just a tinge of 
color, and quiet, dark eyes. He is turned a little to the right, 
face almost full front and in a strong light which makes a short, 
pronounced shadow beside his prominent, sensitive nose. His 
garb is dark and he wears the long dark wig and deep, flowing, 
white lace collar of the period. 


No. 22 


PATRICK NASMYTH 
ScorcH: 1787—1831 


VIEW FROM HAMPSTEAD OVER 
THE WEALD OF HARROW 


ove 
a a Oe Height, 18 inches; length, 24 i s 


In the foreground an informal field road, entering the pictur 
from the right, passes between a green mound which forms 
near-by horizon behind it on the right, and a pool on the left 
that is bordered by bushes, beyond which the road loses itself in 
the wild lands of hill and valley. At the foot of the mound is 
a blasted tree, surrounded by groups of green and brown brush, 
and green and brown bushes border the pond, a patch of whose 
surface is silvered by reflections from white clouds floating in 
banks of gray in a light blue sky. Near the pond a man and 
woman of the countryfolk are conversing, and in the distance 
are to be found other figures, and cattle. 


From the British Institute, 1829; No. 458. 


Pee 
i ae No. 23 


WA THOMAS BARKER OF BATH 
EncuisH: 1769—1847 


HERDSMAN WITH CATTLE 
fp 5 tala Height, 19 inches; length, 26 ; hes 


t/ 

On a warm summer afternoon, with a wl Sa algge di 
clouds just tinged with delicate hues of sunset, a herdsman 
and his cattle have assembled from a rough moorland, about 
an aged tree standing alone at the extreme right of the fore- 
ground. His cattle are red, brown and tawny, and some are 
white faced, and they are walking slowly or lying down at the 
| herdsman’s feet, as he stands with shirt-front open, leaning on 
| his staff. ‘To him has come a young woman from the harvest 
fields, who stands with back to the spectator, one arm resting 
against the tree and in the other holding a sheaf of grain. 
Lying at the base of the tree an alert dog watches over all. 


Signed at the lower right, TB in monogram. 


{ aN Orel 


ae / SIR JOSHUA REYNOLDS, P.R.A. 
| oo Eneusy: 1723-——1792 


PORTRAIT OF THE ARTIST BY HIMSELF 


pw tO oe ~—s—- Height, 2414, inches; wid Ih, 20 inches i 
< ) LHS) } A, Ans 


Given by Sir Joshua to S. Bowering,/Esq. Left by him to his 
son, S. Bowering 2nd, who bequeat ed it to his son, S. Bower- 
ing 8rd. By him given to his niecé, Mrs. Charles Hall, from 
whom the present owner purchased it. More than a score of 
portraits of Sir Joshua by himself are known to collectors. 
This one most closely resembles the one in which he wears a 
painter’s hat, now hanging in the National Gallery, London, 
though the Duke of Wellington some years ago showed to the 
late owner of this canvas one very similar, with the exception 
that in it Sir Joshua is depicted in spectacles. 


THe painter has represented himself in head and shoulders, 
nearly at half-length, seated and facing the right, three-quar- 
ters front. He is in the prime of life, with ruddy cheeks, and 
looks with analytic gaze keenly at the observer. A mass of 
brown hair with amber notes crowns and envelops his head 
like a loosely-hanging cap, brushed back from his right temple 
where the light is high and strong. He wears a white stock, 
and a coat and waistcoat of rich brown with reddish notes. 
The background is in the tones of a greenish-blue sky with 
white and gray clouds. 


No. 25 


SCHOOL OF VAN DE VELDE 
(Prerer van per Leeuw?): 1644—1704_ 
MARINE | 


(Panel) 


ecm aus Height, 2044 inches; length, 24 (3. On ae 
In a green rolling sea chopped with Ooh ite crests a num- a 


ber of seventeenth century ships are seen plowing along a 
various directions, their gray, cream and brownish-yellow sails 
and red flags and pennants bellying and flying in a stiff breeze. 
Yellowish-gray clouds banked along the horizon are rising and 
darkening overhead in a light turquoise sky. Coming on close 
at hand in the right foreground is a ship with a bold figurehead 
and a numerous company aboard, and big square sails, while 
a smaller vessel of fore-and-aft rig is passing out under her 
stern, crossing the bows of another square-rigger, and other 
ships are seen in the distance. 


No. 26 


J. KF. DE TROY 
Frencu: 1679—1752 


HEADS OF NYMPHS O) Vay ON KO) eer y c.. 


Ze eas aa Oval: Upright diameter, 26 inches; horizontal, 211% inches 


Two fair-haired, comely and alert nymphs are presented at 
half-length, one with golden hair looking down upon her shorter 
or seated brown-haired sister, and laying a caressing hand on 
her nude shoulder, admiringly. The shorter one, from whose 
rounded breasts a robe of softly mingled colors has fallen, 
holds a laurel branch in her hand as she catches lightly her 
drooping robe, and looks up with gratification, recounting 
something to her companion with animated expression. In 
her hair, which is bound with a red ribbon, is a yellow rose set 
off by green leaves. The taller nymph is gowned in pale 
brownish-green with light golden notes, and wears a jewel 
suspended on her breast by a ribbon of dark rich yellow. Back- 
ground in the notes of a greenish-blue sky. 


From the collection of Lady Chandos-Pole, Beer angi ge House, Ken- 
sington Palace Gardens, London. 


No. 27 


SIR PETER LELY 
GERMAN-ENGLISH: 1617—1680 


PORTRAIT OF LADY acme 
Vhrr- 


Lr pert 


( Gee: Height, 291% inches; width, 24 inches 


HALF-LENGTH portrait, the hands not appearing, of a lady of 
mature youth clad in a tight-fitting bodice of white satin with 
narrow shoulders and wide, loosely puffed sleeves. With figure 
turned slightly toward the right she turns her face almost 
squarely to the front and directs the glance of her bright eyes 
a little to the spectator’s left. Draped low behind her and 
falling lightly over her left arm is a blue mantle whose folds 
reflect white lights. The corsage is low, about her neck is a 
string of large pearls, and she wears long pendant earrings. 
The light falls strongly on her face and breasts, and her head 
is framed in dark brown hair which falls in ringlets to her 
shoulders. Her cheeks are pink-tinged and the lips of her 
small mouth a full red. Painted within an oval on a rectilinear 
canvas, the background of dark neutral tones. 


fee 


l/ 7 
ee No. 28 


Re ITALIAN CINQUECENTO SCHOOL 
Domenico Beccarumi(?): 1488?—1551 


QUEEN ESTHER AND HER MAIDENS 


eee Height, 22 inches; length, 35 inches | Cae 
In an open court or street among palaces the Queen is seated 
between two of her women, engaged at spinning. She is in 
red and a brilliant yellow and wears a crown. The gowns of 
the women share in the red and have pale blue in addition. 
Near by a cat is seated in solemn attendance. On the right, 
emerging from an entrance, two more of the Queen’s maidens 
approach, also industriously occupied, with the spun fleece. 
They are tall, and robed in red, green and brown. In a street 
in the background are two men. 


From the collection of the Prince Piccolomini, Siena. 


OEE em Cy 


4 ; No. 29 
wi 


SIR WILLIAM BEECHEY 
Eneutsu: 1753—1889 


THE HON. MRS. VERNON a 
| AG oo 


| Co Ck rr ee 
Dr —_ Height, 30 inches; width, 25 inches 


THREE-QUARTER length portrait of a handsome matron with 
brown eyes and dark eyebrows, small mouth and very rosy 
cheeks, and the suggestion of a comfortable double chin not 
unbecoming. Her brown hair is wound about her head, with 
curls protruding over eyes and temples. Her right arm, 
akimbo, brings the hand into view; the left arm hangs at her 
side and the hand is not in the picture. She wears a loose white 
gown, girdled high in the effect of pronounced breast plates, 
with square-cut corsage, and gauze insertion terminating in 
the lace collar enfolding her neck, and shoulder sleeves which 
continue in gauze over the forearms, whose pink flesh is re- 
vealed through the transaprency. She is seen against a back- 
ground of tree trunks and foliage, and a conventional land- 
scape, in amber and olive tones relieved with red and blue. 


From the Royal Academy of 1816; No. 83. 


No. 30 


ITALIAN CINQUECENTO. SCHOOL 
Domenico Breccarumi(?): 1488?—1551 


PHARAOH PURSUING THE ISRAELITES 
we THE RED SEA 


VARA Ae Le va q 
ee c oo (y= O- | 
/ Lf Open Height, 20 inches; length, 36 inches Va 


A GROUP painting of naive simplicity and primitive imagina- 
tion. On the right Pharoah in gorgeous helmet, brilliant red 
robes and riding a huge sorrel horse is accompanied by lancers 
and halberdiers, afoot and ahorseback, who press around him, 
the two nearest mounted respectively on a white horse and a 
black one. Over the gray-helmeted soldiers is to be seen a 
small forest of upright lances, representing the additional 
troops coming up in the background; and leading on ahead at 
the left is a host of horsemen on the way to the bed of the sea, 
beyond which are to be seen city buildings on a hill. 


From the collection of the Prince Piccolomini, Siena. 


vy) -_—) ; ; Wad doa 
tf {/- —_ Fee, v, f 4 y wok fd by . , (QO f Z 6. é Gul S 
Rr ¢ kat 7- Yate - titrul OF A6\41 
LA. ) 


; Rok No. 31 
V ( BELOTTO 


(BERNARDO BELOTTO CANALETTO) 
VENETIAN: 1724—1780 


THE CANAL REGIO | Vee ee 
| ole ig LO OIL EO fl AK 
a Height, 24 inches; length, 38 inches 


U 


THE canal, a dark, translucent green, occupies the foreground 
on the right, extending leftward toward the distance, its farther 
bank on the right intersected by a narrow branch canal. ‘The 
left foreground is the foot of a ferry street; two pompous 
citizens are in conversation there, an idler lolls, and two fruit 
vendors amuse themselves, on the heavy stones; and the gon- 
dolas of the traghetto are lined along the gangplanks within 
their cribs or slips. Across the canal the buildings reveal a 
mingling of soft grays, rose, browns, greens and yellows, and 
from a campanile swings an old-rose flag. The sky, a dark 
bluish-green, is veiled in tenuous clouds. 


No. 82 


JACOB DE BRAY 
DutcH: 1625?—1680? 


THE LUTE PLAYER 
Height, 3114 inches; width, 234 inches 


A canvas that has been compared favorably with this artist’s 
great work, “The Painter and His Family,” which hangs in 
the Presence Chamber of King William III at ,-Adampton Court 
palace. : 


A young lady of genial expression and easy dignity of mien 
is represented at three-quarter length, standing, near the outer 
wall of a gray stone structure which comes into view on the 
right, against an atmospheric background on the left. She is 
clad in rich emerald-green, with an olive-brown bow at the 
hip, laced bodice over a white underwaist with low corsage, 
which comes to view again in lace cuffs emerging from the 
full, flowing green sleeves, and a tiny thread of a necklace en- 
circles her throat. Her smiling face is turned slightly to her 
left, whither she gazes with large brown beaming eyes, and is 
framed in dark chestnut tresses that dangle in ringlets over her 
shoulders and breast. She holds lightly and fingers gracefully 
a large lute. | 


po sh ee Vie- Vee Cormeaniliigen : 


V ‘ No. 33 


JOHN OPIE, R.A. 
Encuisy: 1761—1807 


PORTRAIT OF JOHN GURNEY, JUNIOR 
) a if } 
ax. Pn \W x Height, 30 inches; width, ae ye ff } 


: a” 
V 0, Exhibited at the British Institution under the title “The Lit- 
‘ tle Flute Player.”” John Gurney, Jr., son of John Gurney of 
.. Earlham and Statira Hood. A fancy portrait of him appears 
o YG. Ss also in ‘*The Fortune Teller,” by Opie. 


A BRIGHT-FACED boy well on his way to young manhood is en- 
joying himself playing the flute. He is pictured seated at the 
foot of a great tree, which at the left merges with a nebuious 
background while on the right appears a landscape, with a 
distant figure disappearing down a path leading toward — 
wooded land. ‘The young Gurney is seen at three-quarters 
length, clad in brown, with a black stock and upstanding col- 
lar, and a “little old man’s” cap of yellow fur with black visor. 
Holding his flute ready for the next note, he pauses to look 
up at the spectator, with a bright eye and a smile, the sunlight 
full upon his chubby and rosy face and casting the shadow of 
his visor upon his forehead. Beside him is a book and roll of 
music. | 


a4 


A. E No. 34 
ok SIR HENRY RAEBURN 
Ad Scorcu: 1766—1823 = 8 


Uv 
‘| THE HON MRS. —— 


ore anonymous title, ‘The Old ee an the L 
Praised by Robert Louis Stevenson in “Virginibus | i 
in the essay, “Some Portraits by Rabeurn”: 


Campbell of Park, or the anonymous ‘Old Tada wit! 
Cap,’ which are done in the same frank, perspicaci t 
the very best of his men. He could look into thei 
out trouble; and he was not withheld by any bas! 
mentalism from recognizing what he saw there and wi 
putting it down upon canvas.” 


THE perspicacity and frankness are seen a a glan 
honorable lady is portrayed at three-quarter lengtl 
ably seated, looking directly at the spectator, her 
tures eloquent of life and her keen eyes revealing a x 1 
daunted, almost expressing a challenge, unafrai 1: ( 
philosophy of existence. She is presented in full fe 
strong light, figure also squarely to the front. Her rig 
resting on a table or arm-rest, the index finger keeps 

in a closed vermilion-bound volume lying on her lap, 
left hand is brought over also to fall upon the book, 
holding her reading glasses. She is dressed in black, > 
white underwaist or chest wrap, a brown fur boa hangs 


her shoulders, and she wears an all- -encompassing white 
with lace frill. : 


SLATE SIR TROL LIA ML ORSON RD CE TUNY SMITH SL TOTTI, A 8 TMP REL OY 


Reproduced in Tur Connotsszur, London, December, 1914. 


yd caer SS we acs era ee SS A eegte nes aga 


renee He ie SS ee 


it, 
‘th 


sea aseagi bes eh sy BAC te 
e LAY TS HEI 


PORTRAIT OF THE HON. MRS. BUSHELL 


BY SIR HENRY RAEBURN 


No. 385 


a? a SIR WILLIAM BEECHEY 


Eneutso: 1753—1839 


PORTRAIT OF ADMIRAL BERKELEY 
73 7) Height, 30 inches; width, on hee 


P ee 

The Hon. George Cranfield fae KB. G. OB. eee sur- 
viving son of Augustus, fourth Earl of Bevkeler Born, 1753; 
died, 1818. Married Emily Charlotte, sister of the Duke of 
Richmond. Entered the Navy, 1766, and in 1805 was ap- 
pointed to the command of the Halifax station. It was dur- 
ing his incumbency there and under his direct orders that the 
Leopard engaged the United States frigate Chesapeake, in 
1807, a combat which led to a prolonged diplomatic corre- 
spondence and was one of the primary causes of the war which 
was precipitated five years later. 


A. FLORID man, with indications of a choleric temperament, 
though with a certain severe kindliness of features withal, the 
admiral appears at half-length, standing, against a dark, rich 
red drapery, beneath a corner of which is to be seen a deco- 
rative landscape. He is turned to the left, three-quarters front, 
and is observed almost in full face. He 1s large, broad-chested, 
full-bodied, with broad head and the heavy jowls of a good 

eater. He wears the white wig of the day, white waistcoat 
and jabot, and a rich dark green velvet coat with large gold 
buttons. 


No. 36 


SIR GEORGE HAYTER 
Enousn: 1792—1871 


PORTRAIT OF MRS. GURNEY 


-Sei Se Height, 30 inches; width, 25. inches 

| OC Via 
THREE-QUARTER length portrait of a young matron, seated and 
facing the left, three-quarters front. Her face is plump, with 
the fresh English complexion, her large eyes are blue, and her 
dark chestnut-brown hair projects in tight ringlets over her — 
temples from beneath an ornamental lace cap adorned with 
flowers which conforms tightly to her head. More lace circles 
her throat and edges her loosely fitting gown of solid tur- 
quoise-blue, and on it is displayed at the breast a large topaz 
set within a border of small pearls. She has looked up from a 
leather-bound book which she has been reading, and still holds 
in her hands, which are folded one over the other and rest on a 
green-covered table in front of her. 


ING 387 


BARTHOLOMEUS VAN DER HELST 
Dutcu: 1613—1670 


PORTRAIT OF WILLIAM RUSSELL, 
DUKE OF BEDFORD 


/ 7. ja 0g Height, 3014 inches; width, 2571/4 inches : 


a ag 7 
William Russell, Duke of Bedford, K.G., K.B., P.C., General 
of Horse during the Civil Wars; born 1614, died 1700. Dr. 
Waagen, the German critic, in his work on the national art 
treasures of England, says (Vol. II, page 227): “An excellent 
work of this great portrait painter’s best time.” 


Tue noble lord is depicted at half-length, sitting, facing the 
right, three-quarters front, his face turned still more to the 
front and eyes directing their glance over his right shoulder. 
His brown hair or wig, brushed flat over his head and forward 
in curling wisps over his retreating forehead, is full and bushy 
at the sides and at the back of his neck, where it falls well 
down the broad and deep lace-bordered white collar which 
spreads across his shoulders. Hs apparel is of rich deep olive- 
green velvet, with gold buttons and embroidery, and vertically 
slashed sleeves exposing white satin. Neutral background of 
light and dark olive notes. 


From the collection of the Hon. Edmund Phipps. 


/ 


oi No. 38 


PIERRE MIGNARD 
Frencu: 1612—1695 


LA COMTESSE DE BETHUNE-HESDIGNEUL 


Vi SC 4 ve Height, 30 inches; width, 25 ii 


THREE-QUARTER length standing figure of 2 tall and graceful 
young woman, facing front, head turned slightly to her right 
and steady glance in the direction of the spectator. She wears 
a plain and rich gown of pale old-rose lined in light turquoise, 
with low corsage and elbow sleeves, from which short white 
undersleeves emerge, which is brilliantly relieved by a mantle 
of deep emerald, loosely twining. In her right hand she has 
caught up lightly her full skirt. Her dark hair, long curls of 
which are trained over one shoulder, is adorned with a small 
bouquet. She appears in a strong light against a dark olive 
background, with folds of a rich brown portiére draped in an 
upper corner. 


[ ee No. 39 
SPANISH SCHOOL 


(FrepEerico Baroccio, 1526—1612, when painting under 
Spanish influence?) 


FREDERICK, PRINCE OF URBINO (1605?—1623), 
AS A CHILD pee ile of Philip III of Spain) 


/ 7 ” tess Height, 35 inches; width, 23 Or C3 Uacadcy 
Federigo Ubaldo Giuseppe, Prince of Urbino, son of Francesco 
Maria, Duke of Urbino, and the Lady Livia della Rovere his (er 
second wife, married the Princess Claudia, daughter of the 
Grand Duke Ferdinand of Tuscany. This canvas closely re- 
sembles the portrait of him in the altarpiece of San Filippo, S. 
Angelo in Vado, in which the young prince, similarly attired, is 
being presented by his patron saint to the Madonna and 
Child. Another portrait, painted a few years later, which 
shows the young prince clad in armor, is in the collection of 
Andrew Coventry, Esq., of Edinburgh; and a small bust chased 
in gold is in the sacristy of the cathedral at Gubbio. (See 
“Memoirs of the Dukes of Urbino,” by J. Dennistoun. ) 


THE noble infant is portrayed at full length, standing, in the 
attitude of stepping forward toward the left, and looking 
squarely at the observer. In his right hand, extended, he 
clasps a pet bird, and in his left, which drops at his side, a silver 
rattle with bells. His brownish-golden hair is shaggy about 
brow and temples and partly covers his ears. His eyes are 
large and dark, with an expression of infantile wisdom, and 
his cheeks plump. He is garbed in rich red brocade elaborately 
adorned, over a gray satin undercoat whose sleeves end in 
turned-back lace cuffs, and he wears a broad white collar edged 
with lace. A bright light from the right casts his shadow on 
the floor. On the wall over his head is the inscription: 


E O 
“FEDERIGO PRINC-D,URB, D?ETA D,UN ANO, 1606.” 


No. 40 


FRANCIS COTES, R.A. 


/\ \ Encutsu: 1726—1770 
PORTRAIT OF THE COUNTESS OF CRAVEN 
Height, 3614 inches; width, 2814 inches 


/ 7, oe A portrait of the Countess at an earlier period of her life is 
0 the well known one by Romney, now the property of the Eng- 


lish nation. V ie ; ie: ? aa er 
¢ tS § | a 


In the present canvas the Countess appears in the full bloom 
of a youthful maturity, posed at three-quarter length against a 
background of brownish depths on the one hand and an airy 
turquoise sky on the other. Her presence fills the picture in 
more than the usual sense, portrayed as she is in natural and 
adorned splendor, with a wealth of magnificent red hair piled 
high over her head and curling down in front of one shoulder, 
and wearing coils of golden-amber beads, and a mantle of crim- 
son velvet over her gauzy gown of white. The mantle appears 
only at her left, and her white gown, whose loose flowing sleeve 
is bound by an armlet, shows in a broad expanse of light folds 
over her right shoulder and exposes generously her neck and 
breast. With figure slightly to the right, her face is turned 
toward the left, where her glance is directed, the face being 
seen nearly full, with red cheeks and an incipient smile. 


/ 


a . No. 41 . >) 


GILBERT CHARLES STUART 2 
AMERICAN: 1756—1828 


PORTRAIT OF JOHN PO ee | i) 


Y "Yj LS 
Height, 42 inches; width, 2444 inches 
A Lae i Z 
John Willet Hood, Rear Admiral of the Red, Vice Admiral of 
the Coasts of Devonshire and Cornwall, Lord Warden of the 
Stannaries. 


Tue admiral is portrayed in rich dark blue coat with broad 
revers and buttons of dull gold, its scarlet lined collar turned 
outward and bent down upon the shoulder. He wears a white 
stock and gracefully arranged jabot, and a small gray-white 
wig. He faces the left, nearly three-quarters to the front, with 
fixed, steady gaze straight ahead. His eyes are blue and his 
cheeks rosy, and the flesh tones throughout are in the crisp, 
fresh rendering characteristic of the painter. With the light 
concentrated on the head and dimming as it falls upon the 
figure, the subject is seen against a neutral background of olive 
tones shading into brown. 


ra / No. 42 


JOHN OPIE, R.A. 
EnecusH: 1761—1807 


LIEUTENANT GEORGE HOOD ROBINSON 


- ys Height, 3714 in hes ; width) 81 inches ? WA 
oO Se ie . ry Vr Awa TE Wee oak 


Made captain when only eens years old and ae in / 
command of H.M. sloop-of-war Wolverene, of twelve guns cai 
seventy men. Gallantly distinguished himself in attacking and 
defeating two French luggers of superior force, off Boulogne, 
on January 3, 1801, and died in consequence of his wounds. 
(His mother was Maria Hood.) . 


THE young lieutenant is represented at three-quarter length, in 
a dark dress uniform with naval buttons and further relieved 
by a white jabot and waistcoat. He is facing the left, three- 
quarters front, his face turned to look full at the spectator with 
frank, unaffected glance. He has a closed spyglass in one hand 
and the gold hilt of his sword appears below it. His brown 
hair falls carelessly over his forehead, and his face is of delicate 
and warm color. Included in the background is a glimpse of 
the sea, with a group of people about a boat on the shore. 


, 
e 


PAULUS VAN SOMER 
FriemisyH: 1570—1621 


No. 43 


PORTRAIT OF MISS ELIZABETH MORRISON 
Height. 40 inches; width, 25 inches 


Elizabeth, daughter and sole heir of Sir Charles Morrison of 

Cassiobury, Hertfordshire; married Arthur Capel, first Baron 

Capel, who, for his attachment to the Royalist cause, was be- 
Sy if. yg headed in Old Palace Yard, Fone aD 9, ee 


THE young lady, little more than a Be eae at near ly tall 
length, in the open air, out for a garden walk. Her movement 
is toward the left and she has paused, turning three-quarters 
front, her head stillfurther turned toward her left shoulder and 
her eyes directed in modest, placid gaze, almost in quiet won- 
derment, at the spectator. She is gowned in a rich, soft, dark 
yellow over pale blue, with white lawn sleeves and a soft green 
trimming at the shoulder, which is further decked with flowers 
that garland her corsage. Her small high waist is girdled with 
a bright red sash, tied in an upright bow. A broad-brimmed 
circular hat lined with blue, turned up at one side and adorned 
with flowers, worn on the back of her head, encircles or frames 
her small youthful face, and she carries a sort of small hoe over 
her shoulder. In the background are sheep on a green bank 
and classical buildings and ruins. 


No. 44 


CANALETTO (ANTONIO CANALE) 
Iravian: 1697—1768 


THE RIALTO BRIDGE — 


VA we Height, 24 winches; eta “3014 ae 
U) 


THE Grand Canal enters the picture at the left, in transparent 
shadow, the buildings on its farther bank red and brown, and 
boats taking on baled merchandise near the center of the com- 
position at the quay on the nearer side. Here, too, strollers are 
observed, in the sunlight, which breaks full upon the Rialto 
bridge beyond them at the right, which is seen obliquely, with 
gondolas and market boats in view beneath the arch, the brown 
booths above it, and the various neighboring buildings beyond 
appearing under a blue sky in which rolling white and gray 
cumuli float. 


o 00 — 


No. 45 


LUDOLF BACKHUYSEN 
German (born), 1631—(died Amsterdam) 1709 


“THE OAKEN WALLS OF OLD ENGLAND” 


Height, 371% inches; width, 3 es ie 

teh t Va et We 
_ A MARINE of spirit, and with spirit of the‘ Ride time, by the 
man who above others steeped himself in the moods of old 
ocean in calm, in place of the agitation preferred and rendered 
by Willem van de Velde, with whom this artist is always 
grouped. Backhuysen, from study and painting of the very 
ships in harbor, where he could study them, enforced himself 
upon the critics of all countries where marine attraction held 
sway, and his maritime productions are catalogued in several 
of the best known European museums, including the Louvre 
and (subject to correction of the map of Europe), Antwerp, 
besides other galleries. In the present canvas, old ocean, roll- 
ing and tossing in careless turbulence, is green and gray with 
restless motion and rippling crests, under a sky massed with 
dark clouds driven by a stiff wind, threatening storm but not 
frightening the sailors of three sturdy British ships, though 
they are making preparations to shorten sail; rifts in the clouds 
reveal a sky of fairest turquoise-blue, and gulls are soaring 
high. The three ships, with high poops and grilled beaks, are 
of about the period when the Dutch predominated in New 
York, and the nearer one seems to be of about twenty guns. 
On each the Union Jack flies from the smart little spritsail- 
mast, and on one from the main also, and the greater flag 
flaunts itself above the taffrails, while pennants stream from the 
tops. ‘The nearer ship comes on headed to the left, with a 
follower on the same course, while the third holds toward the 
right, all with sails bellying, the former with canvas yellowish- 
brown, the latter’s gray. 


From the Bredel Collection. 


No. 46 


SALVATOR ROSA 


Travian: 1615—1673 
JACOB’S DREAM Fe a 
Cy See 
len eee Height, 28 inches; length, 41 inches 


J AcoB reclines on a low mound in the left foreground, at the 
foot of a lightning-blasted tree, one arm dropping over the side 
of the mound, the other thrown back over his head, his face 
peaceful in sleep and turned toward the spectator. At his feet 
rests the ladder, which rises out of the picture, with the angels 
ascending and descending, seven of them in view, with spread 
wings and rich draperies of softly brilliant hues. The land- 
scape at the right is one of rugged bluffs and sparse, wind- 
blown trees, some precipitated to the valley in Nature’s storms, 
the whole in mellowed tones of brown with soft green. The 
sky is massed with rolling clouds. 


No. 47 


SCHOOL OF SCOREL 
(Jan van Scorer, Dutcu: 1495—1552) 


ADORATION OF THE MAGI 


ees 
Re ZR M y 
4 4 Height, 40 inches; width, 80 inches 


Tue nude Christ-child reclines on straw in a heavily built 
manger in the center of the composition in the foreground, the 
Mother on the right lifting a covering of gauze and the infant 
St. John approaching with clasped hands behind her. On the 
left an aged man in green and-deep red kneels devoutly, two 
men of fewer years standing behind him, one with a shepherd’s 
pipe and the other holding a long staff. A young female figure 
is kneeling at the head of the cradle, and from a building in the 
right middleground a couple are approaching, the man bear- 
ing a lamb for the sacrifice. An ox and a saddled ass are near 
by, amidst a background of buildings, ruins, and a green moun- 
tain on whose slopes more figures are seen, among white flocks. 
The costumes of the principal figures are in rich colors, and 
the hues of the background are mellow brown and green. 


ru No. 48 
CANALETTO (ANTONIO CANALE) 


Irarian: 1697—1768 Co eT oe (3 srt 
CHURCH OF SAN GIORGIO MAGGIORE 


Bb Oe Height, 28 inches; length, 434 inches 


San GrorcGio in mellowed grayish-yellow and rose-red stands 
in the right foreground, numerous Venetians in soft rich col- 
ors grouped on the broad esplanade and the steps at which a 
gondola is just making a landing. Beyond, on the right, rise 
the tall masts and squared yards of shipping. On the dark 
green water of the lagoon to the left are other gondolas and 
sandolas, and a sailing ship at anchor comes into view, while 
in the clear distance are grouped the Prigione, the Ducal 
Palace with the domes of San Marco rising over it, the Clock 
Tower beyond the Piazzetta, and the Campanile towering 
above the Libreria. The sky is brilliant turquoise. 


No. 49 


EUSTACHE LE SUEUR 
Frencu: 1617—1655 


J/Qa5— SE 4114 inches; width, 85 inches 


MADONNA OF THE FIGS 


At the edge of a thick wood with warm brown trunks and dark 
green foliage, forming a nearby background on the right, the 
Madonna kneels on a ledge of olive-yellow ground, the Child 
astride her knee reaching for a fruit offered by an angel kneel- 
ing at the mother’s side. Beyond at the left the ledge gives 
way to lower ground and the termination of the wood discovers 
a distant landscape and colorful sky. The Madonna is in warm 
pink with a rich cerulean mantle and tea-rose mantilla, and 
facing the left extends a hand toward a basket of purple fresh 
figs, plums and golden fruit, lying on the ground, from which 
the angel has plucked the offering to the Child. The angel, 
shoulder nude, is draped in golden yellow and pale turquoise, 
with turquoise wings and darker yellow hair; and expression 
in each of the group, in figure and feature, is wrought with 
careless care and simplest eloquence. 


No. 50 


ANTONIE PALAMEDESZ 
Dutcu: 1600—1673 


INTERIOR WITH FIGURES 


De (Tate Height, 82 inches; length, bee Vy. Me Ca ; 


In a plain but spacious great hall, with light entering from 
high windows on the left, a large company are gathered for 
general and individual enjoyment. More than thirty figures 
are to be found, men and women in costumes varicolored and 
rich. In the center of the floor a spry cavalier is prancing 
up to a demure partner, while a woman at the harpsichord and 
another with a lute play for the dance, and others of the 
company who are grouped about the harpsichord sing while 
watching the two dancers with amusement. ‘The rest of the 
assemblage, seated or standing around the hall, are in consider- 
able part engaged at amorous gallantries more sentimental 


than hardy. 


rd al No. 51 


“ WYACINTHE RIGAUD Y ROS 
Frencu: 1649—1753 


PORTRAIT OF PHILIPPEAUX, CONSEILLER 
ET GARDE DES SCEAUX 


oe, es Height, 4614 inches; width, OG inch ’ 
THE statesman is represented in all the pomp of personal dis- 
play of an age of magnificence. His rich apparel includes 
a soft-gray coat heavily embroidered in silver, with lace cuffs, 
a silvery-white stock continued in jabot effect through the ar- 
rangement of the long ends, which finish with whole clusters 
of strings of pearl, an undercoat of pale blue adorned in red, 
a turquoise mantle; and his breast is crossed by a broad band 
of brilliant cobalt. The outer coat is lined in mauve, and the 
chapeau on his knee supports feathers of crushed-strawberry 
hue. He is seen at three-quarter length, sitting in a carved 
gilt chair upholstered in crimson and green, under a rich 
drapery of brown and olive notes, figure to the right, face 
turned almost full to the front, and he wears a huge gray 
periwig. Beyond a landscape background is the rose of a 
sunset sky. 


Signed on a document in the-sitter’s hand, Ricavup. 


From the Baudot sale, Paris. 


No. 52 


SCHOOL OF BOUCHER 
Francois BoucHer, Frencu: 1708—1770 


PARIS AND GNONE thee 


A 0 wa Height, 36 inches; length, 48 inches 
Paris is presented in garb of scarlet, yellow, blue and white, 
leaning from a low coping at the left to the twisted trunk of 
a tree at the center, to which he is binding playfully the up- 
raised arm of Helen’s predecessor, who reclines, nude, on 
white and blue draperies at the foot of the tree. She is painted 
at full length, with fine foreshortening of the thighs, her feet 
projected among the leaves of plants growing at the edge of 
a pool. Her head is raised, though her glance is directed down- 
ward with a pleased smile, and her right hand, as she supports 
herself on her elbow, raises a pointing finger to the ardent 
wooer, who is toying with her tresses and with her bound left 
arm lifted above her head. In the landscape background two 
other figures are seen, one a nymph pursued. 


v4 No. 53 
Vv JACOPO CARRUCCI DA PONTORMO 
FLoRENTINE: 1494—1557 


VENUS AND AMORINI 


ae _ Height, 47 mches; width, 41 inches ro See 
ae | Vr: i 


Venuvus here is crowned and clad. She is presented in three- 
quarter figure, seated, the figure turned slightly to the right 
and her face turned to the left as she looks fixedly over her 
right shoulder. A nude and winged amorino, standing, clasps 
his hands upon that shoulder and might be whispering to her 
attentive ear. In front, leaning between her knees, is another 
amorino whom she is blindfolding. She is clad in a drapery 
of yellowish-white, the hue of mellowed marble, with a jewel 

_ at her breast clasping a rich malachite-green mantle, a jeweled 
armlet, and a jeweled coronet resting on her brown hair, some 
curling strands of which are brought forward over her breast. 
The background is a classical landscape. 


From the sale of the Cardinal Marchio Collection, Rome, 1857. 


No. 54 


ae 


ae ~~ NOBEL NICOLAS COYPEL 
Pig oo : Frencu: 1692—1734 
SO 


DIANE ET ENDYMION 


LOO = Height, 4914 ee ely 3934 inches , : i 7 

E : 2 OTPTAMWM™ 

This canvas has been pronounced “A superb nee ito%4) eigh- i 

teenth century French art, which has excited the utmost ad- 

miration among collectors who have examined it, which the 

Marquis of Hertford, who had probably a greater knowledge 

of art than any other person then living, was most anxious to 

have for his house in Paris” (the marquis referred to being 

the founder of the Wallace Collection, now the property of the 
British nation). 


ENpYMION, nude, is in sitting posture, and seen nearly at full 
length, his head bent over his arm, fast asleep. His head_is © 
wreathed in brown curls, his cheeks are rosy, and rosy morn 
tinges his warm flesh, in a most successful arrangement of 
lights which characterizes the whole canvas. White and pur- 
ple-lavender draperies fold over his limbs, and his dog is asleep 
with head against its master’s knee. Diana approaches from 
the left, bust nude and encircled by flowing scarfs of white 
and rich blue, and lays a gentle hand upon the beautiful youth’s 
shoulder. Her face is seen in profile as she bends toward 
and looks down upon him. It is impossible to look long upon 
the canvas without realizing a sense of the quality, depth, truth, 
softness and substance of the flesh tones, their warmth, fresh- 
ness, coloring. 


From the sale of the collection of Sir T. Callis Dettera at Christie’s, 
London, June, 1918. 


No. 55 


Kae JOHN LINNELL 
Enewtsu: 1792—1882 


“THE VALE OF AVOCA,” COUNTY WICKLOW, 4 
IRELAND (pty (3 ee ( i 

; tg, Height, 86 inches; length, 5014 inches 
y a ee J g + 


“Were scenes of such surpassing beauty on English shores, 
they would be a world’s wonder; if on the Mediterranean, the 
Baltic, or away in Egypt, tourists would flock to them in hun- 
dreds.”—Sir Watrer Scortr. 


THE beautiful vale celebrated in song by Moore stretches away 
from the observer’s point of view, between mountains of rugged 
grandeur under clouds of opalescent mist. Sunlight illumines 
sturdy peaks and velvet slopes, and spots the valley with head- 
land shadows, the light itself though bright yet subdued in 
the soft air. Through the valley winds a narrow blue stream, 
and in the foreground a fair and barefooted colleen is riding 
toward it on a bridleless donkey, knitting while she rides, and 
at the moment engaged in chaff with a goatherd resting on a 
bank, his flock around him. To right and left in the middle 
distance various figures of the countryside are to be seen on 
the moist green slopes. 


‘ Rae aie 
Yep ay shes Fee Pe rr ) 9g aE 
Ene 4 iS b ra OrK.Q “ So Mo. & | [ pas fot 


No. 56 


ALLAN RAMSAY 
Scotcu: 1713—1784 


PORTRAIT OF JENNIE CAMERON 


/ 3-07 Height, 49 inches; width, 40 GO A We i 


Tue handsome mistress of the Young Pretender, Charles Ed- 
ward Stuart, is represented nearly at full length, standing and 
facing the spectator, her head turned slightly to the left, the 
calm eyes directed straight ahead. She is gowned in black, 
with a tight décolleté bodice and full, spreading skirt, the bodice 
sleeveless and covering an underwaist through whose gauzy 
material the pink flesh of her arms appears and which sup- 
plies a broad collar that spreads over the young woman’s 
shoulders. Sleeves and corsage are decked with green-blue 
bows, that at the breast adorned with a pear-shaped pearl, and 
she wears a pearl necklace and carries a long ostrich plume. 
She has a Grecian nose and small Cupid’s-bow mouth, large 
blue eyes and broad light eyebrows; her face is long and fair, 
with rose in the cheeks, and her hair is a rich chestnut. She 
wears a hat with long feathers. 


No. 57 


SIR WILLIAM BEECHEY 
EncusH: 17538—1839 


LIEUTENANT-COLONEL THE HON. FRANCIS 
WHEELER HOOD | 6, 


04 Height, 501% inches; width, 4014 inches eee 


Eldest son of Henry, second Viscount Hood. Born, 1781. 
Gazetted lieutenant-colonel of the Third Regiment of Foot 
Guards, May 16, 1811. Killed at Aire, March 2, 1814. “An 
officer of great promise and merit.”—Wellington’s Despatches, 


Vol. VII, page 346. 


THREE-QUARTER length portrait of an active, vigorous man in 
an early prime, standing erect with shoulders squarely to the 
front, head turned toward the left. He is in full dress uni- 
form, the scarlet coat brilliant with gold buttons and braid, 
and set off by a black stock. His hands rest one upon the 
other on the hilt of his sword, whose point is upon the ground 
straight in front of him. He has clearly modeled features, a 
ruddy complexion and yellow-blond hair, which is tousled. 
At the lower left are inscribed the subject’s name and title, 
and the dates of his birth and death. 


Eahibited at the Royal Academy, 1813; No. 296. 


rT No. 58 


ANGELICA KAUFFMANN 
Swiss: 1741—1807 


ALLEYN FITZHERBERT, FIRST LORD OF ST. 
HELENS 


a ers) AOE at Height, 50 inches; width, 40 inches 


THE subject is a young man with almost feminine features, 
bushy brown curls, very pink cheeks and large brimming eyes. 
He is painted at three-quarter length, standing, leaning with 
his right arm on a shoulder-high mantel, the elbow flexed and 
hand drooping, a glove held in it. Figure to the front, he 
has turned his head toward his left, and his lips are parted as 
though speaking, a suggestion augumented by a gesture of 
his gloved left hand. His rich black costume is embroidered 
and slashed with gold and white, and he wears a loosely tied 
broad white collar of Byronic suggestion, with a deep border 
of lace. Over one shoulder and across his breast is drawn his 
black robe trimmed with brown fur. 


/ 


’ 


/ 


No. 59 


THE REV. MATTHEW WILLIAM PETERS, R.A. 
EncusH: 1745?—1814 


SHAKESPEARE NURSED BY THE TRAGIC AND 


COMIC MUSES leva ae & ig 


/ 3 4‘ 


Height, 60 inches; width, 48 inches 


Painted for Alderman Boydell. This canvas has a singular his- 
tory. Boydell commissioned the artist to paint six pictures for 
his monumental edition of Shakespeare. This one, which was 
to form the frontispiece, was on Peters’s easel at the time of 
his wife’s death. The painter was so distraught at his loss 
that he felt unable to complete the painting in the time re- 
quired, and Boydell engaged Romney to execute his well-known 
version of the same subject. The two pictures, so widely dif- 
ferent in conception and treatment, make interesting subjects 
for comparison. 

The figure of Tragedy in this picture is a portrait of Mary 
Isabella, youngest daughter of Charles, fourth Duke of Beau- 
fort, afterward the wife of Charles, fourth Duke of Rutland. 


Two graceful young women are seated in the center of the 
composition, before a conventional and imaginative back- 


ground of landscape, clouds and flowers. Tragedy, with eyes 


veiled under drooping lids, on the right, holds the infant 
genius in her arms and on her lap, but sharing the happy bur- 
den with her sister muse, resting her own arm and the child’s 
back upon Comedy’s knee. Comedy, younger and happier, 
nestles against her sister’s shoulder and holds out a posy with 
which the infant plays. He is nude, swathed in white. Thalia 
in white and rose has one fair breast exposed. Melpomene is 
gowned in dark canary-yellow and a greenish-blue. At their 
feet appear a comic mask and a cup and dagger. 


AMERICAN ART ASSOCIATION, 
MANAGERS. 
THOMAS E. KIRBY, 


AUCTIONEER. 


——— es ae eo 


— 


STS REPRESENTED 
{EIR WORKS 


LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 


CATALOGUE 
NUMBER 
BACKHUYSEN, Lupotr 
“The Oaken Walls of Old England’ 45 
BARKER OF BATH, Txomas 
Herdsman with Cattle 23 
BEECHEY, Sir Wit11aM 
The Hon. Mrs. Vernon 28 
Portrait of Admiral Berkeley 36 
Lieutenant-Colonel the Hon. Francis Wheeler 
Hood 57 
BEIJER, JAn bE 
A River Scene 14 
BELOTTO (Brrnarpo BELoTtTo CANALETTO) 
The Canal Regio 31 
BRAY, JAcos DE 
The Lute Player 32 
CANALETTO (Antonio CaAnate) 
The Rialto Bridge 44 
Church of San Giorgio Maggiore 48 
CARRUCCI DA PONTORMO, Jacorvo 
Venus and Amorini 53 


CATTERMOLE, Grorce 
The Grave of “Little Nell” A 


CATALOGUE 
NUMBER 

CIPRIANI, Giovanni BATTISTA 

Cleopatra 3 
COTES, Francis, R.A. 

Portrait of the Countess of Craven 40 
COYPEL, Nokit Nicouas 

Diane et Endymion 54 
CUYP, AELBERT 

Three Boors Drinking 10 
DELACROIX, EvuGENE 

Study of a Horse 2 
FLEMISH SCHOOL 

Portrait of a Lady 17 
GOYEN, JAN VAN 

Mouth of the Meuse 11 

Harbor Scene 12 
HAYTER, Sir GeEorGE 

Portrait of Mrs. Gurney 37 


HELST, BarTHOLOMEUS VAN DER 
Portrait of William Russell, Duke of Bedford 


ISABEY, Eucrne 
A Shipwreck 


ITALIAN CINQUECENTO SCHOOL (DoMENIco 
BrccAFUMI?) 
Queen Esther and Her Maidens 
Pharaoh Pursuing the Israelites to the Red Sea 


38 


19 


29 
30 


ee ee 


KAUFFMANN, ANGELICA 
Alleyn Fitzherbert, First Lord of St. Helens 


KEYSER, Tuomas dE 
Edward Montagu, First Earl of Sandwich 


KOENINCK, P. bE 
| The Ferry 


~LADBROOKE, Rosert 


View near Swainsthorpe near the River Yare 


LANDSEER, Sir Enywin Henry 
Study for Painting “A Highland Ferry” 


LAWRENCE, Sir Tuomas, P.R.A. 
Sketch, John Kemble as “Hamlet” 


LELY, Sir PrerTer 
Portrait of Lady Shrewsbury 


LE SUEUR, EustacHE | 
Madonna of the Figs. 


LINNELL, JouHn 
“The Vale of Avoca,” County Wicklow, Ireland 


McCORMICK, A. D. 
Landscape 
Landscape 


MIGNARD, PIERRE 
La Comtesse de Bethune- btlastenanl 


NASMYTH, Patrick 


CATALOGUE 
NUMBER 


«58 


21 


15 


16 


27 


49 


ba BOP) 


34: 


View from Hampstead over The Weald of Harrow 22 


OPIE, Joun, R.A. 
Portrait of John Gurney, Junior 
Lieutenant George Hood Robinson 


PALAMEDESZ, AnTonIE 


Interior with Figures 


PARMIGIANINO (IL) 
The Infant Saviour with St. John 


PETERS, Tue Rev. MatrHew Wiuiam, R.A. 
Shakespeare Nursed by the Tragic and Comic 
Muses 


RAEBURN, Sir HENRy 
The Hon. Mrs. Bushell 


RAMSAY, ALLAN 


Portrait of Jennie Cameron 


REYNOLDS, Str Josuua, P.R.A. 
Portrait of the Artist by Himself 


RIGAUD Y ROS, HyacintHE 


Portrait of Philippeaux, Conseiller et Garde des 


Sceaux 


ROSA, SALVATOR 


Jacob’s Dream 


SCHOOL OF BOUCHER (Francois BoucHEr) 


Paris and (none 


SCHOOL OF SCOREL (Jan van Score) 
Adoration of the Magi 


CATALOGUE 
NUMBER 


35 


56 


24 ; 


D1 


46 


Or 
i) 


AT 


ae 
SCHOOL OF VAN DE VELDE (PI®£T8r VAN DER 
LEEUW /) 
Marine 25 


SOMER, PavuLus van 
Portrait of Miss Elizabeth Morrison 43 


SPANISH SCHOOL (FeEpeErico Baroccio) 
Frederick, Prince of Urbino (1605’—1623), as a 


Child (Godchild of Philip III of Spain) 39 
STEEN, Jan 
The Nativity 9 


STUART, GILBERT CHARLES 
Portrait of John Willet Hood | 42 


TROY, J. F. dE 
Heads of Nymphs 26 


VINCENT, Grorcr 
Landscape—A Copy of Hobbema 20 


WOUWERMAN, Putters 
A Combat between Horse and Foot 18 


ZUCCHERO, FEprERIco 
Portrait of the Lady Elizabeth Dacre 13 


FOR INHERITANCE TAX 


AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


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TO FURNISH 


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JEWELS AND PERSONAL EFFECTS OF EVERY 
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NEW YORK 


TELEPHONE, 3346 GRAMERCY 


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AND BINDING BY 


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